Ba 0625 Picture Path
Transcript of Ba 0625 Picture Path
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Before&After
Continued
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Build a picture path 0625
A single row of photos carries yourreader from heretothere.Build a picturepath
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Before&After XiBAmagazine.com U
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BOOT SALE
Model 462
Build a picture pathIts out of the ordinary, attractive and easy, tooa single row of photoscarries your reader from hereto there.
Heres an easy way to make your message
stronger. Turn your page sideways, and line
up a half-dozen (or so) identically sized
photos starting at the left edge. Put your
copy on the right, and the readers eye will
follow the path directly to it. Like this:
Here There
Our eyes naturally drift left to
right. Starting on the left, the
picture path picks up this natu-
ral motion, accelerates it and
stops it right at your message
logo, title, sale prices, whatever
you put at this end.
Thomas Wright
Paint catalog2006
Swatches, palettes,ideas, advice
www.twpaints.com
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Its as easy as 1 2 3
3 Set the focal point Add a focal pointtypically
your logo or a photoat the end of the path. Silhou-
ette the image for eye-catching contrast (freeform vs.
straight); a slight overlap links the two naturally.
1 Use a panoramic page To get the reader moving,
page and path must run the same direction. A 2:1 ratio
(above) is excellent online, for small spaces (ads) and
as a single printed sheet (postcard, flier, poster).
2 Make a path Arrange your photos in a single row
starting at the left edge and stopping short of the right.
(The short gap will hold the reader on the page.) No
space between photos; you need an unbroken sweep.
4 Add the words Place your copy near the paths
end along a vertical axis. Dont upstage the images;
use a conservative typeface, and let the path do the
work of leading the reader to your story.
Thomas Wright
Paint catalog2006
Swatches, palettes,ideas, advice
www.twpaints.com
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More is better Fewer photos slow the paths move-
ment; their large size demands attention (a fine asset ,
but not here), forcing the eye to scan each individu-
ally and not the path as a whole.
Things to watch for . . .
Eye level is the most natural
place for the path. Avoid uni-
form spacing (right), which cre-
ates distracting stripes.
Use a white gap about this
big (above) to stop the readers
movement. Too small and the
eye keeps right on going (right)!
Small
Medium
Large
No bumps Most effec-
tive are images identical
in size and shape; irregu-
larities will slow and even stop the reader.
Same
Same
Same
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Before Seven snowboarderssome are close up, some are far away, each is positioned differently in the frame, and
some frames have different proportions. To get the images more alike, first enlarge or reduce until everyones the same
size, then crop into a similar positionin this case, everyones centered in the square.
The tightest natural cropping makes this your
control image; crop all others to match it.
Scale, crop, align
A picture path is most effective when its images are similar enough that the eyejust glides along. Size, cropping and alignment are key . . .
After The eye still sees seven different images, but now theyre similar enough to read in a continual sweep. Thats what
you want. This is not the place for images that stand out and arrest your attention.
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BOOT SALE
Model 462
4a
Typefaces
1 (ab) Goudy Old Style| a)26 pt,
b)10/12 pt
2 Myriad Pro Semibold| 10 pt
3 (ac) Clarendon Light| a)50 pt,
b)20/26 pt, c)10 pt
4 (ab) Clarendon Bold| a)36/24 pt,b)18/24 pt
Images
5(am) iStockphotos.com | a b c
d e f g h i j k l m
6Photos.com
Article resources
Colors
C0M0Y0K65
C0M0Y0K45
C0M0Y0K30
C15M100Y100K0
7
8
9
10
1aThomas Wright
Paint catalog2006
Swatches, palettes,ideas, advice
www.twpaints.com
2 1b 5f
3a
3c
6
Image row5ae
(left to right)
Image row5gm
(left to right)
4b 3b
8
9
10
7
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Before&After
7of 7 | Printing formats
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Build a picture path 7of 7
Before & After magazine
Before & After has been sharing its practical approach
to graphic design since 1990. Because our modern world
has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understand-
able, useful and even fun for everyone.
John McWade Publisher and creative director
Gaye McWade Associate publisher
Vincent Pascual Staff designer
Dexter Mark Abellera Staff designer
Design advisor Gwen Amos
Before & After magazine
323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
Fax 916-784-3995
E-mail [email protected]
www http://www.bamagazine.com
Copyright 2005 Before & After magazine, ISSN
1049-0035. All rights reserved
You may pass this article around, but you may not alter
it, and you may not charge for it. You may quote brief
sections for review. If you do this, please credit Before
& After magazine, and let us know.To feature free
Before & After articles on your Web site, please contact
us. For permission to include all or part of this article in
another work, please contact us.
Subscribe to Before & After
Did you learn from this article? Subscribe, and
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To be notified by e-mail of new articles as
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Before&After
Back | Paper-saver format
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For paper-saver formatPrint: (Specify pages 912)
Before & After is made to fit your binder
Before & After articles are intended for permanent reference. All are titled and numbered.
For the current table of contents, click here. To save time and paper, a paper-saver format of this article,
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Before&After|www.b
amagazine.com
1of4
Buildapictu
repath0625
0625Buildapicture
path
BOOTSALEMode
l462
Asinglerowof
photoscarries
your
rea
derfromher
etothere.
B
uilda
pictur
epath
Heresaneasywaytomakeyou
rmessage
stron
ger.Turn
your
pagesidew
ays,andline
upaha
lf-dozen(orso)identicallysized
photos
startin
gattheleftedge.Putyour
copyontheright,andtheread
erseyewill
followthe
pathdirectlytoit.Li
kethis:
Here
There
Oureyesnaturallydriftleftto
right.Startingontheleft,the
picturepathpicksupthisnatu-
ralmotion,acceleratesitand
stopsitrightatyourmessage
logo,title,saleprices,whatever
youputatthisend.
T
homasWright
Paintca
talog2006
Swatch
es,palettes,
ideas,a
dvice
www.tw
paints.com
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amagazine.com
2of4
Buildapictu
repath0625
0625Buildapicture
path
Itsaseasyas1
23
3SetthefocalpointAd
dafocalpointtypically
yourlogooraphotoattheendofthepath.Silhou-
ettetheimageforeye-catchingcontrast(freeformvs.
straight);aslightoverlaplinksthetwonaturally.
1Useapanoramicpage
Togetthereadermoving,
pageandpathmustrunthe
samedirection.A2:1ratio
(above)isexcellentonline,f
orsmallspaces(ads)and
asasingleprintedsheet(po
stcard,flier,poster).
2MakeapathArrangeyou
rphotosinasinglerow
startingattheleftedgeands
toppingshortoftheright.
(Theshortgapwillholdthere
aderonthepage.)No
spacebetweenphotos;youn
eedanunbrokensweep.
4AddthewordsPlaceyou
rcopynearthepaths
endalongaverticalaxis.Dontupstagetheimages;
useaconservativetypeface,andletthepathdothe
workofleadingthereaderto
yourstory.
ThomasWright
Pai
ntcatalog2006
Sw
atches,palettes,
ideas,advice
www.twpaints.com
MoreisbetterFewerphoto
sslowthepathsmove-
ment;theirlargesizedemand
sattention(afineasset,
butnothere),forcingtheeye
toscaneachindividu-
allyandnotthepathasawho
le.
Thingstowatchfor...
Eyelevelisthemostnatural
placeforthepath.Avoiduni-
formspacing(right),whichcre-
atesdistractingstripes.
Useawhitegapaboutthis
big(above)tostopthereaders
movement.Toosmallandth
e
eyekeepsrightongoing(rig
ht)!
Small
Medium
Large
NobumpsMosteffec-
tiveareimagesidentical
insizeandshape;irregu-
laritieswillslowandevenstopthereader.
Same
Same
Same
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amagazine.com
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Buildapictu
repath0625
0625Buildapicture
path
BeforeSevensnowboarderssomearecloseup,somearefaraway,eachispositioneddifferentlyintheframe,and
someframeshavedifferent
proportions.Togettheimagesmo
realike,firstenlargeorreduceun
tileveryonesthesame
size,thencropintoasimilarpositioninthiscase,everyones
centeredinthesquare.
Thetightestnaturalcroppingmakesthisyour
controlimage;cropallotherstomatchit.
Scale,crop,align
Apicture
pathismosteffectivewhenitsim
agesaresimilarenough
thattheeye
justglidesalon
g.Size,cro
ppin
gandalignm
entarekey...
AfterTheeyestillseessevendifferentimages,butnowtheyresimilarenoughtoreadinaco
ntinualsweep.Thatswhat
youwant.Thisisnotthepla
ceforimagesthatstandoutandarrestyourattention.
BOOTSALEMode
l462
4a
Ty
pefaces
1(
ab)GoudyOldStyle|a)26pt,
b)10/12pt
2MyriadProSemibold|10pt
3(ac)ClarendonLight|a)50pt,
b)20/26pt,c
)10pt
4(ab)ClarendonBold|a)36/24pt,
b)18/24pt
Im
ages
5(
am)iStockphotos.com|a
b
c
d
e
f
g
h
ijk
lm
6Photos.com
Articleresources
Colors
C0M0Y0K65
C0M0Y0K45
C0M0Y0K30
C15M100Y100K
0
78910
1a
Thoma
sWright
Paintcatalog2006
Swatches,palettes,
ideas,advice
www.twpaints.com
2
1b
5f
3a
3c
6
Imagerow
5ae
(lefttoright)
Imagerow5gm
(lefttoright)
4b
3b
8
910 7
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amagazine.com
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Buildapictu
repath0625
0625Buildapicture
path
Before&Aftermag
azine
Before&Afterhasbeensharingitspracticalapproach
tographicdesignsinc
e1990.Becauseourmodernwor
ld
hasmadedesignerso
fusall(readyornot),Before&
Afterisdedicatedtom
akinggraphicdesignunderstand
-
able,usefulandeven
funforeveryone.
JohnMcWadePublisherandcreativedirector
GayeMcWadeAssociatepublisher
VincentPascualSta
ffdesigner
DexterMarkAbelle
raStaffdesigner
DesignadvisorGwen
Amos
Before&Aftermag
azine
323LincolnStreet,Ro
seville,CA95678
Telephone916-784-3
880
Fax916-784-3995
wwwhttp://www.bamagazine.com
Copyright2005Be
fore&Aftermagazine,ISSN
1049-0035.Allrightsreserved
Youmaypassthisarticlearound,butyoumaynotalter
it,andyoumaynotch
argeforit.Youmayquotebrief
sectionsforreview.If
youdothis,pleasecreditBefore
&Aftermagazine,and
letusknow.Tofeaturefree
Before&AfterarticlesonyourWebsite,pleasecontact
us.Forpermissiontoincludeallorpartofthisarticlein
anotherwork,please
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